  What some distinguished writers have said of them: Maurice Maeterlinck wrote, May 15, 1905: "Do you know that 'Iconoclasts' is the only book of high and universal critical worth that we have had for years—to be precise, since Georg Brandes. It is at once strong and fine, supple and firm, indulgent and sure." And of "Ivory Apes and Peacocks" he said, among other things: "I have marvelled at the vigilance and clarity with which you follow and judge the new literary and artistic movements in all countries. I do not know of criticism more pure and sure than yours." (October, 1915.) Of "Visionaries" Remy de Gourmont wrote, June 22, 1906: "I am convinced that you have written a very curious, very beautiful book, and one of that sort comes to us rarely." Paul Bourget wrote, Lundi de Paques, 1909, of "Egoists": "I have browsed through the pages of your book and found that you touch in a sympathetic style on diverse problems, artistic and literary. In the case of Stendhal your catholicity of treatment is extremely rare and courageous." Dr. Georg Brandes, the versatile and profound Danish critic, wrote: "I find your breadth of view and its expression more European than American; but the essential thing is that you are an artist to your very marrow." IVORY APES AND PEACOCKS12mo. $1.50 net "Out of the depressing welter of our American writing upon Æsthetics, with its incredible thinness and triteness and paltriness, its intellectual sterility, its miraculous dulness, its limitless and appalling vapidity, Mr. James Huneker, and the small and honorable minority of his peers, emerge with a conspicuousness that is both comforting and disgraceful.... Susceptibility, clairvoyance, immediacy of response, are his; he is the friend of any talent that is fine and strange and frank enough to incur the dislike of the mighty army of Bourbons, Puritans, and Boeotians. He is innocent of prepossessions. He is infinitely flexible and generous. Yet if, in the twenty years that we have been reading him, he has ever praised a commonplace talent, we have no recollection of it. His critical tact is well-nigh infallible.... His position among writers on Æsthetics is anomalous and incredible: no merchant traffics in his heart, yet he commands a large, an eager, an affectionate public. Is it because he is both vivid and acute, robust yet fine-fingered, tolerant yet unyielding, astringent yet tender—a mellow pessimist, a kindly cynic? Or is it rather because he is, primarily, a temperament—dynamic, contagious, lovable, inveterately alive—expressing itself through the most transparent of the arts?"—Lawrence Gilman, in North American Review (October, 1915). NEW COSMOPOLIS12mo. $1.50 net "Mr. James Huneker, critic of music in the first place, is a craftsman of diverse accomplishment who occupies a distinctive and distinguished place among present-day American essayists. He is intensely 'modern,' well read in recent European writers, and not lacking sympathy with the more rebellious spirits. Ancient serenity has laid no chastening hand on his thought and style, but he has achieved at times a fineness of expression that lifts his work above that of the many eager and artistic souls who strive to be the thinkers of New England to-day. He flings off his impressions at fervent heat; he is not ashamed to be enthusiastic; and he cannot escape that large sentimentality which, to less disciplined transatlantic writers, is known nakedly as 'heart interest.' Out of his chaos of reading and observation he has, however, evolved a criticism of life that makes for intellectual cultivation, although it is of a Bohemian rather than an academic kind. Given a different environment, another training, Mr. Huneker might have emerged as an American Walter Pater."—London AthenÆum (November 6, 1915). MELOMANIACS12mo. $1.50 net "It would be difficult to sum up 'Melomaniacs' in a phrase. Never did a book, in my opinion at any rate, exhibit greater contrasts, not, perhaps, of strength and weakness, but of clearness and obscurity. It is inexplicably uneven, as if the writer were perpetually playing on the boundary line that divides sanity of thought from intellectual chaos. There is method in the madness, but it is a method of intangible ideas. Nevertheless, there is genius written over a large portion of it, and to a musician the wealth of musical imagination is a living spring of thought."—Harold E. Gorst, in London Saturday Review (Dec. 8,1906). VISIONARIES12mo. $1.50 net "In 'The Spiral Road' and in some of the other stories both fantasy and narrative may be compared with Hawthorne in his most unearthly moods. The younger man has read his Nietzsche and has cast off his heritage of simple morals. Hawthorne's Puritanism finds no echo in these modern souls, all sceptical, wavering, and unblessed. But Hawthorne's splendor of vision and his power of sympathy with a tormented mind do live again in the best of Mr. Huneker's stories."—London Academy (Feb. 3, 1906). ICONOCLASTS: |
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